Hugo van der Goes, 1475 - Eserese nke nwoke - mbipụta nka mara mma

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The 15th narị afọ piece of art was created by Hugo van der Goes. The 540 A na-ese ụdị ihe nka dị otu afọ na nha: Oval, overall 12 1/2 x 10 1/2 in (31,8 x 26,7 cm); painted surface 12 1/2 x 10 1/4 in (31,8 x 26 cm). Mmanụ na osisi was used by the Dutch artist as the technique for the work of art. Nowadays, this piece of art can be viewed in in the Ụlọ ihe ngosi nka nke Metropolitan collection, which is one of the world's largest and finest art museums, which includes more than two million works of art spanning five thousand years of world culture, from prehistory to the present and from every part of the globe.. The classic art public domain masterpiece is being included with courtesy of The Metropolitan Museum of Art, New York, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929. Creditline of the artwork: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929. In addition to this, the alignment of the digital reproduction is Eserese ma nwee oke onyonyo nke 1: 1.2, which means that the length is 20% shorter than the width. The Netherlandish painter Hugo van der Goes was an artist from the Netherlands, whose art style was mainly Northern Renaissance. The Dutch painter was born in the year 1467 in Ghent, East Flanders, Flanders, Belgium and deceased at the age of 15 in the year 1482.

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Nkọwapụta nka site na ihe ngosi nka (© - Ụlọ ihe ngosi nka nke obodo ukwu - www.metmuseum.org)

Hugo van der Goes produced some of the most celebrated altarpieces of the Northern Renaissance. The heightened realism of this portrait, especially the beard stubble, is a hallmark of his work. By setting the man’s head against a dark interior, next to a bright window, the accentuated contrast of light and shadow enhances the modeling of the facial features. The portrait was later cut into an oval shape from a rectangular panel, which probably originally formed part of a devotional triptych. The sitter, with his hands joined in eternal prayer, directs his gaze toward the missing religious image.